LIBRARY 

OF   THE 

UNIVERSITY  OF  CALIFORNIA. 


GIKT  OK 


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Class 


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STATE  OF  ILLINOIS 


DEPARTMENT 


OF 


PUBLIC  INSTRUCTION 


1QO1 


CIRCULAR  28 
RURAL  SCHOOL  ARCHITECTURE. 

School  Room  Decoration. 


Appendix  to  the  XXIII  Biennial  Report  of  the  Superintendent 
of  Public   Instruction. 


SPRINGFIELD,  ILL.: 
PHILLIPS  BROS.,  STATE  PRINTERS, 

1901. 


CIRCULAR  28. 


RURAL  SCHOOL  ARCHITECTURE  AND  SCHOOL  HOUSE  DECORATION. 

DEPARTMENT  OF  PUBLIC  INSTRUCTION, 

SPRINGFIELD,  ILL.,  February,  1901. 

Forty  years  ago,  in  the  third  biennial  report  of  this  department, 
Newton  Bateman  referred  to  the  then  prevailing  features  of  school 
architecture  as  follows:  "A  central  location;  boards  and  shingles  to 
protect  from  storms  and  cold;  just  space  enough  for  all  the  scholars 
in  the  district;  an  adequate  supply  of  the  plainest  seats  and  desks, 
the  former  often  backless;  a  'ten-plate' stove,  a  pail,  tin  cup,  and 
broom — these  are  too  often  regarded  as  an  ample  endowment  for  a 
district  school  house." 

At  that  time  there  were  eleven  hundred  and  two  (1,102)  school 
houses  "totally  unfit  for  the  purpose  for  which  they  are  used;"  while 
forty-six  hundred  (4,600)  were  described  as  "in  tolerably  good  repair, 
but  with  small  lot,  uninclosed,  destitute  of  out-houses,  poorly  seated, 
and  not  large  enough  for  the  scholars  of  the  district."  There  were 
also,  at  that  time,  fourteen  hundred  and  forty-seven  log  school 
houses. 

It  must  be  conceded  that  great  improvements  have  since  been 
made — in  places.  That  much  remains  to  be  done  is  evidenced  by 
the  fact  that  the  county  superintendents  report  twelve  hundred  and 
seventy-eight  (1,278)  "unsanitary  or  otherwise  unsuitable"  school 
houses,  and  but  seventeen  hundred  and  ninety-four  "perfectly  com- 
fortable" ones.  Between  these  extremes  are  all  degrees  of  comfort 
and  discomfort.  There  are  twelve  thousand  eight  hundred  and  nine 
(12,809)  schools  in  Illinois,  and  every  one  of  them  ought  to  be  com- 
fortably and  conveniently  housed. 

The  purpose  of  this  circular  is  to  give  to  school  directors  and 
teachers  some  definite  and  up-to-date  information  relating  to  school 
house  architecture  and  decoration,  and,  incidentally,  to  exhibit, 
graphically,  existing  conditions  in  country  districts.  It  contains: 
(1)  A  paper  read  by  Mr.  Normand  S.  Patton,  formerly  architect  for 
the  Board  of  Education,  Chicago,  at  the  October,  1900,  meeting  of 
the  Northern  Illinois  Teachers'  Association  at  Freeport;  (2)  a  paper 
read  by  Mrs.  Orville  T.  Bright  at  the  same  meeting,  both  of  which 
the  Association,  by  a  unanimous  rising  vote,  requested  this  depart- 
ment to  publish;  and  (8)  a  number  of  illustrations  of  existing  archi- 
tecture, some  of  which  may  well  be  used  as  working  models,  and 


4 

ethers  as  examples  of  conditions  to  be  improved.  For  many  of  these 
illustrations,  of  both  kinds,  I  am  indebted  to  County  Superintendent 
Orville  T.  Bright,  of  Cook  county,  who  is  engaged  in  a  most  ener- 
getic crusade  for  better  school  houses  in  his  own  county,  and  to 
whom  is  due  no  small  share  of  the  credit  for  the  renaissance  now 
in  progress,  and  promising  to  extend  into  every  township  in  the 
State. 

No  attempt  is  made  to  discuss  the  architecture  of  the  larger  school 
building,  for  the  double  reason  that  architects  are  fully  alive  to  that 
problem,  and  the  large  school  building  is  but  a  repetition  of  the 
unit — the  school  room.  The  circular  is  a  response  to  numerous 
calls  for  advice.  It  is  hoped  that  it  will  aid  the  movement  so  hap- 
pily begun  to  hasten  the  day  when,  in  the  interest  of  economy  in 
money,  health  and  teaching  facilities,  every  school  room  in  Illinois 
shall  be  perfectly  COMFORTABLE,  and  all  its  surroundings  be 
cheerful  and  beautiful. 


Superintendent  of  Public  Instruction. 


THE  SCHOOL  ROOM  IN  GRADE  SCHOOLS. 


Size. — With  artificial  ventilation,  which  should  always  be  provided, 
the  size  of  the  school  room  may  be  determined  by  the  area  required 
to  seat  the  pupils,  with  a  proper  allowance  for  aisles  and  front  space. 
Forty- eight  pupils  in  the  grammar  grades  may  be  seated  in  a  room 
with  an  area  of  775  square  feet.  If  the  number  of  pupils  is  to  be 
limited  to  40,  it  is  best  to  retain  this  size  and  allow  a  more  liberal 
spacing  of  desks.  The  primary  grades  with  their  smaller  desks  may 
get  along  with  smaller  rooms,  but  the  desirability  of  open  space  for 
games  and  exercise  and  the  liability  of  changing  the  grades  are  argu- 
ments against  a  reduction  of  size.  On  the  other  hand  if  the  area  is 
increased,  there  is  a  temptation  to  school  boards  to  add  extra  seats 
and  over  crowd  the  rooms  to  the  detriment  of  the  school  work. 
Therefore,  it  is  wise  to  adopt  775  square  feet  as  the  standard  area  for 
a  school  room. 

If  provision  must  be  made  for  56  pupils,  an  area  of  890  square  feet 
will  be  required. 

Shape. — This  should  not  vary  greatly  from  a  square.  The  length 
should  not  exceed  35  feet,  and  when  wooden  joists  are  used  there  is  a 
practical  limit  of  the  width  to  27  feet,  using  28  foot  joist.  With 
these  limitations  our  775  feet  of  area  may  be  25  x  33  feet,  or  27  x  29 
feet,  and  our  890  feet  area,  either  25  x  35  feet,  or  27  x  33  feet.  When 
the  lighting  is  from  one  side  only  the  25  foot  width  is  preferable; 
with  supplementary  lighting  from  the  back  the  27  foot  width  is  some- 
times more  practicable.  With  rooms  of  these  proportions  the  seats 
may  face  either  the  end  or  the  side. 

Height. — We  may  take  13  feet  as  a  standard  height,  with  a  ten- 
dency to  make  rooms  less  than  this  down  to  12  feet  rather  than  more. 
The  considerations  affecting  the  height  of  a  school  room  may  be 
enumerated  as — 1,  light;  2,  looks;  3,  cost;  4,  convenience.  Com- 
paring a  height  of  13  feet  with  one  of  12  feet  on  the  side  of  the 
greater  height  is  light,  and  of  the  lesser  height,  looks,  cost  and  con- 
venience. A  height  12  feet  gives  a  more  homelike  look  than  a  greater 
one;  the  cost  of  construction  and  heating  is  less,  and  there  is  a  sav- 
ing of  effort  and  time  in  climbing  stairs  to  the  upper  stories.  A  high 
ceiling  increases  the  light  only  when  the  tops  of  the  windows  are 
raised  likewise;  to  leave  the  windows  unchanged  and  raise  the  ceiling 
will  decrease  the  light. 


Light. — The  object  should  be  to  provide  (1)  a  proper  amount,  (2) 
from' the  proper  direction,  (3)  uniformly  distributed  and  sufficiently 
diffused,  and  do  this  under  all  conditions  of  weather. 

Amount  of  Light. — The  familiar  rule  to  make  the  total  window 
area  one- sixth  of  the  floor  area  is  useful  only  as  a  rough  approxima- 
tion, as  the  amount  of  light  admitted  by  a  given  area  of  glass  is 
affected  by  the  width  of  window,  the  height  from  the  floor,  thickness 
of  walls,  proximity  of  buildings,  trees  and  other  external  obstructions, 
the  color  of  these  external  objects,  color  of  exterior  window  jambs 
and  of  the  interior  walls  and  ceiling,  and  the  height  of  the  room 
above  the  ground,  the  upper  stories  receiving  more  light  than  the 
lower.  There  can  be  no  exact  rule  for  lighting,  but  several  consid- 
erations will  be  helpful  as  a  guide  to  one's  judgment. 

Every  foot  of  unnecessary  glass  is  a  detriment.  It  lets  in  the  heat 
in  summer  and  the  cold  in  winter.  Cold  draughts  are  proverbial 
causes  of  illness,  and  the  most  dangerous  draught  is  one  that  strikes 
the  back.  Therefore  there  should  never  be  full  length  windows  at 
the  back  of  a  school  room  unless  they  are  provided  with  double  sash 
and  have  steam  pipes  beneath  sufficient  to  counteract  the  cold 
draught.  Furthermore,  unnecessary  windows  take  from  the  wall 
space  needed  for  other  uses. 

Wide  windows  let  in  more  light  than  the  same  amount  of  glass  in 
narrow  windows.  The  diagonal  rays  are  largely  cut  off  by  the  thick- 
ness of  the  wall  in  narrow  windows.  Three  wide  windows  will  light 
almost  any  school  room  better  than  four  or  five  narrow  ones,  and  will 
have  fewer  cracks  for  cold  air. 

The  most  effective  light  comes  from  the  clear  sky,  shining  through 
the  window  directly  upon  the  object  to  be  lighted.  In  order  that 
the  farther  side  of  the  room  shall  receive  such  direct  light  it  must 
pass  through  the  upper  part  of  the  window.  If  there  be  enough 
light  for  the  farther  parts  of  the  room,  there  will  be  more  than 
enough  for  those  near  the  windows,  and  hence  the  upper  half  of  the 
window  is  more  effective  than  the  lower,  and  the  higher  the  window 
from  the  floor,  the  more  light  from  a  given  area  of  glass. 

This  principle  should  not  be  carried  to  such  an  extreme  as  to  raise 
the  window  sills  so  high  as  to  cut  off  a  view  of  the  landscape,  especi- 
ally when  the  surroundings  of  the  school  are  pleasant. 

Place  the  window  sills  at  such  a  height  that  the  children  can  see 
the  ground  when  standing  at  the  window,  but  not  when  seated.  This 
will  bring  the  lower  edge  of  the  glass  from  3  min.  to  3  min.  8  sec. 
above  the  floor. 

Arched  Windows. — The  importance  of  preserving  the  light  from 
the  upper  part  of  the  window  will  lead  to  the  use  of  square  head 
windows  in  preference  to  arched  forms;  nevertheless  arched  windows 
may  be  used  in  certain  situations  as  in  corner  rooms  where  there  is 
light  on  two  sides;  on  the  upper  floor  where  the  light  is  best  and 
and  where  extra  height  may  be  given  to  the  room  and  its  windows 
without  increasing  the  stairs  to  be  climbed;  and  in  other  situations 
when  other  conditions  for  light  are  favorable. 


. 


Direction  of  Light. — The  light  should  shine  upon  the  object  to  be 
seen  and  not  in  the  faces  of  the  pupils  or  teacher.  For  drawing  or 
writing,  the  light  should  be  from  the  left  and  front,  for  reading  from 
the  back  and  either  side!  The  light  should  also  come  from  above,  at 
a  considerable  angle  with  the  horizontal.  Authorities  appear  to  be 
unanimous  that  for  a  room  no  wider  than  the  usual  class  room, 
the  best  lighting  is  from  the  left  hand  of  the  pupils  only.  With  the 
eight  room  school,  four  rooms  on  a  floor,  all  being  corner  rooms,  it 
seems  unnatural  to  leave  one  outer  wall  blank,  and  yet  the  windows  at 
the  back  of  pupils  are  objectionable.  A  compromise  plan  is  to 
place  half  windows  at  the  back  of  the  room  with  their  heads  on  a 
line  with  those  of  the  side  windows.  These  can  be  screened  by 
shades  on  bright  days  and  thus  avoid  annoyance  to  the  teacher  who 
faces  them,  and  used  on  cloudy  days  to  supplement  the  side  windows. 
The  half  windows  are  also  useful  for  cross  ventilation  in  warm 
weather. 

School  design  now  runs  almost  exclusively   to  symmetrical  plans 
for  such  eight  room  schools.     It   is   most   convenient   to   make  the. 
rooms  nearly  square,  say  27x29  feet,  with  three  full  windows  on  the 
left  side  of  the  pupils  and  three  high  half  windows  at  their  back. 

Each  face  of  the  building  will  thus  have  three  full  and  three  half 
windows  in  the  class  rooms  of  each  story,  which  feature  though  un- 
symmetrical  in  the  design  can  be  so  treated  as  not  to  be  an  architect- 
ural blemish. 

Uniform  Distribution  of  Light. — The  difficulty  lies  in  lighting 
the  inner  part  of  the  room  without  excess  near  the  windows.  To  ac- 
complish this  and  preserve  the  proper  direction  of  the  light  on  a 
bright  day,  we  may  screen  the  lower  part  of  the  windows  and  admit 
light  from  upper  portion  only. 

Whatever  shades  or  blinds  are  used  they  must  be  hung  so  that  they 
can  be  lowered  from  the  top  while  screening  the  lower  part  of  win- 
dow. Venetian  blinds  can  have  the  slats  so  adjusted  as  to  shut  out 
direct  sunlight  while  permitting  a  strong 'light  to  play  upon  ceiling 
and  walls;  but  there  are  objections  to  these  blinds  on  the  grounds  of 
expense  both  first  cost  and  repairs  and  collection  of  dust.  Shades 
should  never  be  hung  in  the  ordinary  manner  at  the  top,  for  then  the 
lower  part  of  windows  cannot  be  screened  without  darkening  the  top 
entirely  and  cutting  off  all  the  effective  light  from  inner  side  of  room. 
To  put  the  roller  at  the  bottom  of  the  window  and  pull  the  shade  up, 
is  better;  but  the  roller  in  this  position  interferes  with  plants  on  the 
window  stool  and  therefore  must  be  ruled  out.  An  improvement  is 
to  use  two  shades  with  both  rollers  at  the  center  of  height  of  win- 
dow, one  to  pull  down  and  the  other  to  pull  up;  but  the  simplest  de- 
vice is  to  use  one  shade  hung  on  a  movable  roller,  so  that  light  may 
be  admitted  both  at  top  and  bottom  of  window  in  any  desired 
amount.  There  are  a  number  of  devices  in  the  market  that  accomp- 
lish this  result. 

There  remains  still  the  difficulty  of  direct  sunlight  entering  the 
top  of  window  when  the  shade  is  lowered.  This  may  be  cured  by 
pulling  down  a  white  shade  by  which  the  direct  rays  of  the  sun  are 


8 

intercepted  and  the  light  diffused  over  the  room.  Such  shades  are, 
however,  apt  to  become  quickly  soiled  by  use,  and  a  simpler  remedy 
and  a  permanent  one  is  to  glaze  the  upper  portion  of  windows  with 
maze,  florentine,  or  other  translucent  glass 'which  diffuses  the  sun- 
light and  illuminates  the  ceiling.  For  special  cases  where  the  near 
proximity  of  buildings  cuts  off  direct  light  from  the  sky,  prismatic 
glass  may  be  used  to  catch  the  light  and  control  its  diffusion.  The 
use  of  translucent  or  prismatic  glass  in  the  upper  portion  of  a  win- 
dow has  such  marked  advantages  over  the  ordinary  clear  window 
glass  as  to  deserve  special  comment.  Recent  experiments  conducted 
for  Mr.  Edward  Atkinson,  by  Prof.  Charles  L.  Norton  of  the  Massa- 
chusetts Institute  of  Technology,  prove  that  such  glass  not  only  softens 
the  light  but  gives  a  marked  increase  to  its  effectiveness,  especially  in 
cases  where  a  considerable  portion  of  the  sky  is  cut  off  by  opposite 
buildings.  The  rays  which  would,  with  clear  glass,  shine  on  the  floor 
near  the  window  and  be  absorbed,  are  with  translucent  glass  re- 
fracted and  diffused  over  the  inner  part  of  the  room  and  on  the  ceil- 
ing, which  being  thus  illuminated  radiates  a  soft  light  where  most 
needed. 

Heating  and  Ventilation. — There  must  be  a  supply  of  warmed 
fresh  air,  which  may  be  heated  by  a  hot  air  furnace,  or  a  steam  coil. 
If  the  flow  of  fresh  air  is  by  natural  draught  over  a  steam  coil,  called 
an  "indirect  radiator"  there  should  be  also  direct  radiation  in  the 
room;  but  when  the  warm  air  is  forced  in  by  a  fan,  we  may  dispense 
with  the  direct  radiation,  notwithstanding  eminent  authorities  to  the 
contrary.  The  chief  difficulty  in  ventilation  is  to  prevent  draughts 
when  the  incoming  air  is  cool.  The  air  inlet  must  not  be  in  the  floor 
to  gather  dirt,  but  at  a  height  of  3  to  8  feet.  The  air  should  be  di- 
rected upward  rather  than  horizontally,  then,  the  current  of  air  will 
rise  to  the  ceiling  and  spread  out  over  the  upper  part  of  the  room. 
Place  both  inlet  and  outlet  on  an  inner  wall,  the  outlet  being  at  the 
floor  and  near  the  inlet. 

The  standard  of  ventilation  advocated  for  school  rooms  gives  a 
supply  of  30  cubic  feet  of  air  per  pupil  per  minute.  If  the  ventila- 
ting apparatus  supplies  this  amount  there  will  be  no  need  of  opening 
windows  for  ventilation,  indeed  it  is  essential  to  the  proper  operation 
of  any  system  of  artificial  ventilation  that  the  windows  be  kept 
tightly  closed.  All  school  room  windows  should  be  made  very  tight 
with  weather  strips  to  prevent  the  entrance  of  wind  and  in  those 
school  rooms  that  lack  proper  ventilation,  the  windows  should  never 
be  opened  in  cold  weather  when  there  are  pupils  in  the  room;  but 
the  room  should  be  aired  during  a  recess  or  intermission.  Provision 
should  be  made  for  natural  ventilation  in  warm  weather  by  providing 
transoms  over  the  doors  and  if  there  be  windows  on  one  side  only, 
make  extra  transoms  between  inner  wall  and  corridor. 

Blackboards. — These  are  costly,  are  not  ornamental,  darken  the 
room,  and  should  not  be  made  longer  nor  wider  than  demanded  by 
the  requirements  of  teaching.  Chicago  public  school  teachers  some 
three  years  ago  petitioned  the  Board  of  Education  to  confine  the 
blackboards  to  two  sides  of  the  rooms,  and  this  is  recommended  as 


fi   UNIVERSITY 


sufficient.  The  chalk  rail  for  primary  grades  should  be  two  feet 
from  the  floor  and  for  grammar  grades  not  more  than  three  inches 
higher.  The  board  may  be  about  3J  feet  wide,  but  back  of  the 
teachers  desk  it  is  well  to  carry  the  blackboard  up  to  a  height  of  6J 
or  7  feet.  In  Chicago  good  results  are  secured  with  composition 
blackboards,  but  these  can  be  done  only  by  experts.  If  so  done  they 
are  better  than  slate.  The  blackboard  maker  must  do  the  plastering 
on  which  the  composition  is  laid  or  results  can  not  be  guaranteed. 

Cloak  Room. — The  hanging  of  clothes  in  the  corridors  is  too  prim- 
itive for  consideration  and  the  recently  invented  ventilated  wardrobes 
with  rolling  fronts  have  yet  to  make  their  reputation.  The  usual 
cloak  room  has  a  door  at  one  end  into  the  class  room  and  at  the 
other  into  the  public  corrider.  This  invites  sneak-thieving  if  the 
outer  door  be  unlocked  and  becomes  a  dangerous  trap  in  case  of 
panic  if  locked,  unless  it  be  arranged  so  as  to  open  always  from  the 
inside.  Furthermore  the  numerous  cloak  room  doors  opening  into 
the  corridors  have  been  found  objectionable.  To  overcome  these  ob- 
jections, the  writer  devised  a  form  of  cloak  room  that  has  proved 
very  popular  in  the  Chicago  public  schools.  Both  doors  open  into 
the  class  room.  The  cloak  room  can  not  be  entered  except  from  the 
room  and  no  locks  are  needed.  The  opening  nearest  the  room  en- 
trance may  be  an  open  doorway.  The  ventilation  of  this  style  of 
cloak  room  is  accomplished  in  a  simple  manner.  The  fresh  air  sup- 
ply enters  the  room  as  usual,  but  the  exhaust  is  taken  entirely  from 
the  cloak  room.  Thus  all  the  air  from  the  room  is  drawn  through 
the  open  doorway  into  the  cloak  room,  warming  it  and  drying  the 
clothing,  then  passing  into  the  ventilating  flue.  Cloak  rooms  should 
be  so  located  that  the  teacher  may  stand  in  one  place  and  com- 
mand class  room,  corridor  and  cloak  room.  If  the  cloak  room  is 
considered  only  as  a  place  for  hanging  hats  and  outer  clothing,  there 
is  no  need  of  a  separation  of  boys  and  girls  in  grade  schools.  There 
should  be  plate  glass  in  class  and  cloak  room  doors  opening  into  the 
corridor  so  that  the  superintendent  may  inspect  without  entering. 
It  would  seem  that  there  should  be  some  better  provision  for  over- 
shoes than  leaving  them  on  the  floor  of  the  wardrobe,  simple  racks 
on  the  wainscoting  near  the  floor  are  used  in  some  schools. 

Teachers'  Wardrobe — This  may  be  in  the  cloak  room  or  may 
open  into  the  class  room.  In  the  later  Chicago  schools  in  place  of 
teachers'  wardrobes  in  connection  with  the  class  rooms  there  is  a 
locker  for  each  teacher  adjoining  the  teacher's  room.  The  teacher's 
room  is  located  in  the  basement  (which  is  high  and  well  lighted) 
adjoining  the  main  entrance.  There  are  toilet  conveniences  con- 
nected with  this  room. 

Bookcase — There  must  be  a  bookcase  for  each  school  room.  -Ac- 
cording to  the  testimony  of  teachers  it  may  be  put  in  almost  any 
part  of  the  room,  or  in  the  cloak  room.  There  should  be  glazed 
doors  in  front  of  the  books  and  cupboards  below. 

Wainscoting — There  is  a  strong  tendency  to  abolish  wood  wains- 
coting as  combustible  and  unsanitary  and  substitute  some  other  form 


10 

of  cement  or  hard  plaster.  At  any  rate  the  beaded  ceiling  of  wood 
has  become  very  tiresome  and  a  change  is  desirable.  The  Chicago 
public  schools  are  using  wainscoting  of  plaster  covered  with  pre- 
pared burlap  to  a  height  of  six  or  seven  feet  wherever  the  walls  are 
not  covered  with  blackboards.  This  innovation  has  been  received 
with  great  favor  and  the  writer  can  recommend  the  material  as  the 
best  for  school  room  wainscoting.  The  typical  Chicago  school  room  has 
a  -picture  moulding  around  all  walls  at  about  the  top  of  the  doors, 
seven  feet.  Below  this  moulding  down  to  the  narrow  base  of  wood 
or  cement,  the  walls  are  covered  with  burlap  painted  in  oil.  Olive 
green  makes  an  agreeable  shade;  but  reds  and  browns  are  also  ac- 
ceptable. The  blackboards  have  the  appearance  of  being  applied 
over  the  burlap,  the  narrow  boards  having  the  burlap  on  all  sides, 
while  back  of  the  teacher  the  blackboard  stops  at  the  same  height  as 
the  burlap.  Pictures  may  be  hung  on  the  burlap  from  the  moulding 
but  cards  and  papers  may  be  pinned  or  tacked  directly  to  the  wails 
without  injury  to  the  burlap.  There  is  another  picture  moulding  at 
the  top  of  the  wall  from  which  pictures  may  be  hung  above  the 
wainscoting. 

Walls — Sand  finish  gives  a  more  agreeable  texture  to  the  plaster- 
ing to  receive  the  tinting  color  than  a  smooth  plaster  of  Paris  finish. 
The  subject  of  wall  tints  being  treated  so,  thoroughly  by  Mrs.  Bright, 
I  will  not  comment  on  this  topic  further  than  to  endorse  the  im- 
portance of  proper  tinting.  The  contrast  between  the  blackboards 
and  white  walls  is  especially  trying  to  the  eyes,  but  if  the  blackboard 
is  surrounded  by  burlap  painted  a  suitable  color,  the  contrast  is 
greatly  softened  even  though  the  walls  above  are  white.  A  subject 
now  under  investigation  is  the  making  of  blackboards  of  other  colors 
than  black,  so  as  to  harmonize  with  the  decorative  scheme  of 
the  room. 

Woodwork — Yellow  pine  is  the  most  available  wood  of  low  cost. 
It  seems  to  me  preferable  to  painted  woodwork,  although  inferior 
to  oak. 

Floors — Of  the  two  woods  used  for  school  room  floors,  Southern 
yellow  pine  must  be  quarter- sawed  and  kept  oiled  or  varnished,  or 
the  grain  will  fill  with  dirt.  Hard  maple  may  be  left  without  oil  or 
varnish  and  can  always  be  scrubbed  clean.  If  some  school  board 
wants  a  school  room  floor  more  sanitary  and  noiseless  than  hard- 
wood, it  would  be  worth  while  to  experiment  with  cork  carpet  or 
some  of  the  new  forms  of  linoleum. 

A  Drinking  Fountain  is  a  feature  of  a  complete  school  room  and 
should  be  placed  near  the  door.  A  clock  controlled  from  a  central 
regulator  and  a  telephone  to  the  principal's  office  are  modern  school 
room  luxuries.  I  ] 

Decoration — The  efforts  to  beautify  the  school  room  with  flowers 
and  works  of  art  should  receive  encouragement  from  the  architect. 
The  flower  pots  ruin  the  varnish  on  the  window  stools.  Then  what? 
Banish  the  flowers?  No!  Banish  the  varnish,  and  put  in  slate  or 
marble  stools  that  will  stand  water.  A  bay  window  that  will  give 
space  for  a  flower  stand  will  make  the  school  room  attractive  and, 
perhaps,  should  not  be  considered  an  extravagance. 

NORMAND  S.  PATTON. 


11 


THE  DECORATION  OF  SCHOOL  HOUSES  AND  SCHOOL 

ROOMS. 


"To  be  brought  into  tune  with  good  things 
is  the  first  step  towards  being  good." 

There  is  a  great  and  growing  interest  on  the  part  of  school  patrons 
and  teachers  in  the  subject  of  school  decoration.  The  right  of  the 
child  to  some  sweetness  and  cheeriness  and  beauty  of  surroundings 
has  come  to  be  recognized.  The  right  of  the  public  to  school  build- 
ings of  pleasing  exterior  and  environment  has  been  at  least  partially 
conceded.  Much  has  been  said  and  written  on  the  moral  influence 
and  the  silent  teaching  of  beauty — and  the  dawn  of  a  general  awak- 
ening to  the  importance  of  these  matters  seems  at  hand.  Teachers 
are  asking  eagerly  what  can  be  done  for  the  improvement  of  their 
schools,  and  how  it  is  to  be  accomplished.  A  few  practical  sugges- 
tions are  appended  which  it  is  hoped  may  to  some  extent  answer 
these  questions. 

That  time  in  the  history  of  any  school  when  the  subject  may  be 
most  effectively  considered  is  when  its  building  is  projected.  The 
shape  and  size  of  the  school  rooms  and  corridors — the  arrangement 
of  window,  blackboard,  staircase  and  wardrobe — the  design  and  finish 
of  woodwork  are  vital  matters  and  worthy  the  careful  attention  of 
superintendent  and  principal.  The  school  officer  whose  duty  it  is  to 
look  after  these  and  other  essentials  of  a  perfect  building,  and  who 
neglects  to  do  so,  is  guilty  of  a  grievous  wrong.  Every  school  house 
is  a  monument  to  the  shame  or  the  glory  of  those  under  whose  super- 
vision it  is  erected.  Other  things  being  equal,  the  degree  of  beauty 
attainable  may  be  in  proportion  to  the  amount  of  money  expended — 
but  that  the  best  possible  results  for  the  money  be  forthcoming — that 
is  what  we  have  a  right  to  expect. 

Presumably  school  architects  have  been  long  in  existence;  only 
recent  years,  however,  have  developed  a  class  worthy  of  the  name, 
and  have  witnessed  the  erection  of  really  beautiful  school  buildings 
in  our  midst.  A  sufficient  number  of  these  buildings  is  now  in  exist- 
ence— buildings  of  good  architectural  design,  well  and  honestly 
built,  attractive  both  as  to  exterior  and  interior,  carefully  planned 
and  carefully  kept — to  furnish  the  best  and  most  practical  hints  to 
builders  of  new  ones. 

In  the  main  the  most  successful  of  these  new  buildings  have  certain 
features  in  common.  The  broad  stair  and  wide  corridor  which  would 
have  been  condemned  as  waste  room  on  the  old-time  plan,  have  come 


12 

to  stay,  and  have  proved  their  right  to  do  so.  So  far  from  being 
waste  room,  the  light  spacious  corridor  is  in  constant  use  for  Indian 
club  and  dumb-bell  exercises,  wand  drills  and  marches,  and  even 
takes  the  place  of  an  assembly  hall,  in  case  of  the  lack  of  such, 
where  public  exercises  may  be  held.  Ceilings  are  lower,  windows 
wider,  less  high,  and  not  so  deeply  recessed;  shades  have  superseded 
blinds;  blackboards,  hideous  but  necessary,  are  somewhat  reduced 
in  both  height  and  extent;  platforms  are  abolished,  and  soft  and 
pleasing  tints  succeed  on  the  walls  the  old  dead  white.  The  wood- 
work is  designed  with  reference  to  cleanliness  as  well  as  beauty,  the 
floors  are  of  hard  maple,  and  an  occasional  wall  cabinet,  or  wide,  low, 
hospitable  fireplace  is  seen. 

To  the  teacher  so  fortunate  as  to  be  located  in  such  a  building  the 
task  of  beautifying  her  school  room  is  rendered  easy.  A  few  well- 
selected  pictures  and  casts,  some  plants  in  the  windows,  a  small  table 
or  two  with  a  bit  of  bright  color  in  the  cover,  a  rug,  perhaps,  and  an 
easy  chair,  and  the  thing  is  accomplished — or,  no,  not  necessarily 
even  yet,  for  it  has  been  the  painful  privilege  of  the  writer  to  visit  a 
school  room  with  all,  of  nearly  all  these  things,  which  yet  is  most  un- 
beautiful.  Dirt  and  disorder  are  deadly  enemies  of  beauty,  and  their 
nullifying  powers  are  great.  Neatness,  order  and  arrangement  are  as 
necessary  to  a  pleasing  effect  as  are  the  possession  of  pictures  and 
other  beautiful  effects.  No  amount  of  decoration  will  render  attract- 
ive an  untidy  school  room  with  messy  blackboards  and  paper-strewn 
floor.  It  may  be  well  for  all,  in  schools  old  and  new,  antiquated  and 
modern,  to  lay  down  the  law  that  order  is  the  first  principle  of  beauty. 

When  the  new  building  is  completed,  or  the  old  one  to  be  reno- 
vated, the  first  great  question  to  be  settled  is  in  regard  to  wall  tints. 
In  the  selection  of  these  any  advice  which  is  given  must  follow  to 
some  extent  the  irritating  fashion  of  the  old  cook  book  which  di- 
rected ignorant  young  housekeepers  to  "season  to  taste"  or  mix  "ac- 
cording to  judgment."  As  a  matter  of  fact  the  decoration  of  each 
school  room  is  a  problem  by  itself.  The  color  of  the  wood  and  the 
height  of  the  ceiling,  the  amount  of  blackboard  space  and  other  mod- 
ifying features  varying  in  different  buildings  or  even  in  different 
rooms  in  the  same  building,  must  be  taken  into  account,  and  in  both 
rooms  and  corridors  the  amount  and  direction  of  the  light  received 
must  enter  in  as  an  important  factor.  A  few  general  rules  for  the  se- 
lection of  color  have  been  drawn  from  observation  and  are  as  fol- 
lows: Sunny  rooms — those  having  south,  southwest  and  west  expos- 
ures— should  be  in  cool  tints,  greens  or  olives.  (Blue  and  gray  are 
.not  successful  school  room  tints,  being  dreary  and  cold  in  effect.) 
Rooms  receiving  little  sun  need  warmth  of  color  and  may  be  done  in 
red,  terra-cotta  or  yellow-brown.  Ceilings  should  be  lighter  than  side 
walls;  a  contrasting  ceiling  is  ordinarily  most  pleasing,  and  a  color 
almost  universally  satisfactory  for  the  purpose  is  a  deep  corn-yellow 
or  canary.  A  side  wall  often  looks  darker  when  complete  than  in  the 
sample,  but  it  is  safe  to  select  for  the  ceiling  a  strong  light  tone,  the 
effect  being  invariably  lighter  and  milder  when  on.  High  ceilings 
may  be  made  to  appear  lower  by  tinting  the  upper  portion  of  the 
wall  like  the  ceiling;  the  greater  the  depth  of  the  wall  space  so  tinted 


13 

the  more  the  ceiling  is  apparently  lowered  (the  measurement  being 
usually  from  18  to  36  inches).  Low  ceilings  may  be  heightened  in 
effect  by  the  reverse  process  of  continuing  the  side-wall  color  to  the 
ceiling  and  placing  the  picture  molding  at  the  top.  The  best  shades 
for  dark  rooms  are  on  the  yellow  tones;  tan,  corn-yellow  or  buff,  and 
light  golden  brown.  The  best  corrective  for  a  wall  which  has  been 
made  too  dark  is  a  ceiling  (and,  if  possible,  partial  side  wall)  of  corn- 
yellow  or  canary. 

The  woodwork,  when  painted,  is  in  general  most  safely  made  a 
lighter  or  darker  shade  of  the  wall  color.  Any  dado  which  takes  the 
place  of  a  wainscot  follows  the  same  rule. 

There  are  comparatively  few  desirable  schoolroom  colors,  but  there 
is  a  variety  of  shades  of  each  color,  so  that  many  different  combina- 
tions may  be  made,  and  it  is  neither  necessary  nor  desirable  to  have 
all  the  rooms  in  a  building  alike.  Red  has  proved  one  of  the  most 
effective  colors  for  assembly  halls  and  corridors  and  one  of  the  least 
pleasing  for  school  rooms.  For  the  latter,  the  greens,  olives,  terra- 
cottas and  tans  are  most  satisfactory.  It  is  difficult  to  account  for 
the  so  frequent  use  of  a  color  best  described  as  a  sickly  pink.  Pos- 
sibly it  is  an  attempt  at  a  compromise  with  reds  which  are  too  dark 
or  too  intense  for  schoolroom  purposes.  Whatever  the  occasion  of  it 
may  be,  it  is  a  complete  and  utter  failure.  Pink  may  be  a  good  bou- 
doir color,  but  for  a  school  room  it  is  useless  as  a  background  and 
utterly  characterless.  If  it  is  desired  to  use  red  in  a  room  for  which 
the  really  rich  and  lovely  shades  are  too  dark,  it  may  safely  be  done 
by  making  ceiling  and  the  upper  third  of  the  wall  cf  canary  or  corn- 
yellow.  In  this  way  a  rich  background  may  be  obtained  without  any 
loss  of  the  light,  cheerful  aspect  of  a  room.  With  the  green  or  olive 
walls  the  woodwork,  if  painted,  may  be  either  a  deeper  shade  of 
same,  or  some  pleasing  contrast;  with  red  or  terra  cotta  it  must  of 
course  be  a  contrast,  and  with  tan  a  most  pleasing  combination  is 
found  to  be  leather  brown. 

Dark  shades  tend  to  lessen  the  apparent  size  of  a  room,  light  ones 
to  increase  it.  The  size  of  room  or  hall,  therefore,  as  well  as  its 
lighting,  must  be  taken  into  consideration  in  determining  its  tints. 
In  offices  and  recitation  rooms  it  is  generally  desirable  to  select  a 
style  of  wall  decoration  which  will  lower  the  ceiling  and  enlarge  the 
room.  In  the  absence  of  blackboards  such  rooms  look  best  done  in 
three  shades— the  darkest  for  the  dado  which  is  topped  by  a  molding 
three  or  four  inches  in  width — the  middle  for  the  side  walls  ending 
at  the  picture  molding  eighteen  inches  or  more  from  the  ceiling — 
and  the  lightest  (probably  a  contrasting  shade)  for  the  ceiling  and 
that  part  of  the  wall  above  the  picture  molding. 

This  matter  of  the  careful  selection  and  artistic  blending  of  colors 
is  well  worth  the  attention  of  teachers.  Perhaps  no  other  one  thing 
will  go  so  far  toward  hiding  the  defects  and  adding  to  the  beauty  of 
a  school  room. 

The  woodwork  in  most  schools  is  hopelessly  ugly.  The  Georgia 
pine  which  is  almost  universal  may  have  much  to  recommend  it  from 
the  builder's  point  of  view,  but  from  the  aesthetic  standpoint  it  has 


14 

nothing.  Its  harsh,  ugly  tones  refuse  either  to  blend  or  to  contrast 
pleasingly  with  the  wall  tints;  it  must  be  either  ignored  or,  better, 
painted.  Some  day,  perhaps,  when  we  shall  have  brought  about  a 
genuine  and  general  public  interest  in  these  things,  it  may  be  re- 
placed by  oak  or  other  woods,  which,  if  slightly  more  expensive,  ad- 
mit of  a  variety  of  charming  shades  and  finishes. 

Many  of  the  teachers  who  have  devoted  some  thought  to  the  mat- 
ter, have  proved  very  ingenious  in  inventing  simple  devices  for 
beautifying  their  school  rooms.  A  teacher  of  first  grade  in  a  school 
where  the  walls  were  white  and  the  directors  obdurate,  covered  the 
upper,  unused  portion  of  a  high  blackboard  to  a  depth  of  ten  or 
twelve  inches  with  wall  paper  of  a  bright,  rich  red,  using  this  as  a 
background  for  pressed  ferns,  scissor  work  and  inexpensive  little  re- 
liefs, thus  making  a  very  charming  little  frieze  about  the  room  and 
adding  a  pretty  bit  of  color.  A  simple  thing  enough,  but  it  really 
transformed  the  place  and  was  an  inexpressible  pride  and  delight  to 
the  children.  Others  have  used  burlap  in  green  or  red  in  a  similar 
way,  sometimes  covering  the  whole  area  of  a  small  board  that  could 
be  spared  and  making  it  a  background  for  displays  of  Prang  plati- 
nettes,  Perry  pictures  or  relief  casts,  which,  being  readily  fastened 
and  unfastened  by  means  of  large  pins,  might  be  frequently  changed 
and  the  interest  in  them  thus  sustained.  Shelves  over  the  black- 
boards for  the  support  of  an  occasional  vase  or  statuette  have  proved 
successful  in  some  instances,  and  where  the  doorways  are  not  too 
high  the  same  idea  has  been  carried  out  with  good  effect.  Orna- 
ments in  such  instances  should  be  of  good  size  and  not  too  abundant 
—the  scattering  of  numerous  small  articles  is  far  from  pleasing  in 
effect. 

All  these  devices  may  help  to  make  the  school  room  an  attractive 
and  pleasant  place,  but  it  is  also  possible  to  carry  the  idea  of  decora- 
tion to  an  extreme.  A  few  good  things  are  more  to  be  desired  than 
a  superabundance  of  trash  and  it  is  best  to  be  discriminating  as  to 
what  is  allowed  to  enter.  Simplicity  is  not  bareness — overcrowding 
is  not  art;  ornaments  and  pictures  should  be  kept  to  their  proper 
places,  among  which  doors  and  windows  are  not.  The  latter  should 
be  kept  clear  of  everything  but  plants,  the  former  should  never  be 
utilized  for  the  hanging  or  pinning  on  of  pictures.  If  it  is  desired 
to  group  a  number  of  small  pictures  for  study  purposes  and  no  space 
is  available  they  may  be  mounted  on  large  sheets  of  stiff  cardboard 
and  stood  for  the  necessary  time  upon  the  chalk  trough. 

Good  pictures  are  plentiful,  easily  accessible,  and  cheap;  there  is 
no  reason  why  every  school  may  not  become  possessed  of  a  really  fine 
collection.  Tastes  differ,  of  course,  as  to  the  kind  of  pictures  most 
desirable. 

Indianapolis  has  recently  acquired  a  great  reputation  for  the  work 
of  her  schools  along  art  lines.  They  have  raised  and  spent  many 
hundreds  of  dollars  for  pictures,  and  their  purchases  have  been  en- 
tirely original  works  of  local  artists.  Some  of  the  Chicago  schools 
also  have  chosen  to  contribute  to  the  encouragement  of  home 
industries  and  have  ordered  copies  by  art  students  of  mas- 


15 

terpieces  in  the  Art  Institute.  Of  course  this  sort  of  thing 
is  productive  of  many  good  and  desirable  results.  In  Indianapolis 
the  artists  have  become  so  interested  in  the  schools  through  the  pur- 
chase of  their  pictures  that  they  have  contributed  much  in  valuable 
suggestions  and  in  actual  decorative  work.  So  far  as  the  idea  looks 
toward  mutual  help  and  cooperation  it  is  ideal,  but  on  the  other  hand 
it  is  a  question  whether  for  the  children — and  we  must  not  forget 
that  all  this  is  for  the  children — there  is  not  a  greater  value  in  ac- 
quaintance— even  through  a  copy — with  a  very  great  artist,  a  world 
artist,  than  with  first-hand  knowledge  of  a  lesser  light.  It  is  an  open 
question,  perhaps,  and  is  likely  to  remain  such  for  some  years.  The 
amount  of  money  now  at  command  for  decorative  purposes  in  most 
schools,  however,  makes  it  not  an  immediate  or  pressing  question  for 
them  and  we  may  proceed  to  the  consideration  of  the  many  good 
copies  of  good  pictures  available  at  small  cost.  Of  these  there  is  a 
great  variety,  but  here  again  we  must  go  ''according  to  judgment." 
The  difference  of  a  dollar  or  two  in  price  often  means  the  difference 
between  a  really  good  picture  and  a  very  poor  one.  For  school  pur- 
poses foreign  photographs,  lithographs,  carbons  and  piatinotypes  are 
the  copies  most  used,  with  occasional  photogravures,  steel  engravings 
and  colored  prints.  For  one  who  has  had  little  experience  with  pic- 
tures it  might  be  well  to  see  many  copies  of  tho  same  thing  before 
deciding  upon  one.  (Do  not  hesitate  to  ask  to  see  fine  and  expensive 
copies,  simply  because  you  know  you  can  not  afford  them.  Nothing 
is  any  trouble  to  a  picture  dealer,  and  besides,  he  is  as  anxious  to  edu- 
cate you  as  you  are  to  be  educated.)  The  excellence  of  one  may 
point  out  the  defects  of  another  and  lead  to  a  wise  choice.  Many 
things  enter  into  a  judicious  selection  besides  the  quality  of  the 
copy.  Among  these  the  subject  considered  as  to  moral  tone  and 
suitability  takes  first  rank. 

The  subject  should  be  one  which  appeals  to  the  child,  but  that  it 
appeals  to  him  is  not  a  sufficient  test  of  its  fitness.  It  should  be  such 
as  may  wholesomely  and  with  benefit  appeal  to  him.  All  that  is 
painful  or  morbid  should  be  tabooed,  all  false  sentiment  should  be 
excluded,  but  whatever  satisfies  the  simple,  natural,  childish  taste,  it 
is  right  to  have.  If  teachers  select  pictures  entirely  from  the  adult 
point  of  view  they  may  meet  with  disappointment  in  the  fact  that 
the  children  do  riot  care  for  them.  It  is  the  taste  and  the  compre- 
hension of  the  child  that  must  be  considered,  and  this  should  be 
guided  and  developed  by  the  greater  knowledge  and  experience  of 
he  teacher. 

After  the  picture  is  carefully  chosen  let  equal  care  be  used  in  its 
mounting,  framing  and  hanging.  The  beauty  of  some  pictures  is 
greatly  enhanced  by  the  use  of  a  mat.  In  general  the  mat  serves  one 
of  three  purposes:  that  of  adding  an  effect  of  space  and  roominess  to 
the  picture,  of  enlarging  it  or  of  bringing  it  out  clearly.  In  Jules 
Breton's  "Song  of  the  Lark"  for  example,  the  fine  sturdy,  robust 
figure  of  the  young  girl  seems  cramped  and  confined  if  framed  close, 
while  a  3  or  4  inch  mat  carefully  selected  to  harmonize  with  the  gen- 
eral tone  of  the  picture,  restores  to  it  the  sense  of  spirit  and  freedom 
which  largely  make  up  its  charm. 


16 

Millet's  "Sower"  requires  the  mat  to  bring  out  the  figure  distinctly, 
It  is  a  twilight  picture  and  a  good  copy  gives  the  dusky  twilight  im- 
pression. Framed  close  the  picture  is  lost;  a  mat  carrying  out  the 
lightest  tones  in  the  picture  adds  greatly  to  its  effectiveness. 

There  is  a  forty-cent  photogravure  of  St.  Mark's — very  clear  and 
distinct,  but  so  small  that  framed  close  it  could  not  well  be  hung  as 
a  single  picture;  a  five-inch  mat  and  a  narrow  molding  make  of  it  a 
picture  suitable  for  a  school  room  of  any  size. 

If  the  mounting  of  a  picture  is  a  matter  of  care  and  study,  its  fram- 
ing is  no  less  so.  The  frame  of  gilt  must  be  excluded  from  the  school 
room  list  as  unsuitable;  certain  pictures  in  color,  however,  such  as 
Guido  Reni's  "Aurora"  (of  which  the  colored  copy  is  pre6minently 
the  one  to  buy),  really  require  the  gilt  to  bring  out  their  full  rich- 
ness of  coloring.  Some  genius  in  framing  has  originated  a  most 
happy  way  out  of  the  difficulty,  by  combining  a  broad,  plain  molding 
with  a  gold  facing  next  the  picture  an  inch  or  less  in  width.  The 
result  is  a  frame  rich,  yet  simple,  durable,  easily  cleaned,  and  in  every 
way  suited  for  schoolroom  use.  A  similar  device  is  followed  in  fram- 
ing many  of  the  platinum  pictures,  except  that  the  facing  is  of  silver, 
and  not  more  than  a  quarter  of  an  inch  in  width.  Anton  Mauve's 
"In  the  Lane"  and  "Going  Home"  are  exquisitely  framed  in  this 
way  with  an  ebony  molding. 

Platinum  pictures  call  almost  invariably  for  frames  of  black;  for 
this  reason,  if  for  no  other,  where  an  equally  good  brown  copy  can 
be  procured — carbon,  photograph  or  whatever  it  may  be,  it  is  to  be 
preferred.  There  is  no  objection  to  an  occasional  black  frame,  but 
any  great  number  of  them  is  apt  to  give  to  the  walls  a  funereal  aspect 
unless  the  background  is  particularly  rich  and  warm.  Generally 
speaking,  it  is  best  to  select  for  frames  moldings  which  are  a  continu- 
ation of  color  tones  found  in  the  picture.  It  is  the  province  of  mat 
and  frame  to  form  a  finish  for  the  picture  without  obtruding  them- 
selves. The  soft,  flat-finished  frame  so  much  used  just  now  lends 
itself  most  readily  to  this  idea,  the  "White,  Potter  and  Page"  mold- 
ings being  especially  suited  to  many  of  the  carbons.  When  a  con- 
trasting frame  is  desired  a  dark  mahogany  is  often  very  satisfactory. 

In  hanging  pictures  the  mistake  of  placing  them  too  high  is  most 
common.  When  there  is  a  blackboard  no  margin  should  be  left  be- 
tween it  and  the  base  of  the  frame.  Where  there  is  no  blackboard 
the  middle  of  the  picture  should  be  slightly  above  the  level  of  the 
eye  of  the  average  person.  If  any  mistake  is  made  it  would  better 
be  in  hanging  the  picture  too  low  rather  than  too  high, 

Many  teachers  make  the  serious  error  of  considering  their  work  as 
done  when  the  pictures  are  bought,  framed  and  hung.  On  the  con- 
trary, the  most  important  part  of  it  has  just  begun.  Children  can 
no  more  be  expected  to  learn  to  love  pictures  from  their  mere  pres- 
ence than  to  learn  to  love  books  without  knowing  how  to  read.  The 
teacher  must  be  their  inspiration,  her  understanding  must  teach  them 
to  interpret — her  appreciation  teach  them  to  enjoy,  and  this  can 
never  be  until  she  herself  is  inspired.  For  the  teacher  who  must 
educate  herself  with  her  pupils  the  following  reading  is  recommended: 


\ 


PLATE  XL    (2) 


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PLATE   XIII.     (3) 


TLOOR    PLAN. 
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5.  A.  BULLAtfD,       A^CH'T. 
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PLATE  XIV.    (2) 


PLAN. 

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5.  A.  BULLARK),  AJRCH'T. 


PLATEJXtV.     (3) 


PLATE  XV.    (1) 


PLATE  XV.    (2) 


UNIVERSITY 


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PLATE  XVI. 


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I  I  I  I  I  I 
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PLATE  XVII. 


LATE  XXI. 


PLATE  XXIII.    THE  "TERROR"  MADE  COMFORTABLE  AND  EFFECTIVE. 


PLATE  XXV-OUTSIDE  PLAIN  AND  UNATTRACTIVE,  INSIDE  CHARMING. 

TINTED   WALLS. 


History  of  Painting ) 

Art  for  Art's  Sake \  John  Van  Dyke 

How  to  Judge  a  Picture J 

How  to  Enjoy  Pictures Prang  Ed.  Co. 

Little  Journeys  to  the  Homes  of  Eminent  Painters Elbert  Hubbard 

Masters  in  Art Bates  &  Guild  Co.,  Boston  (monthly  publication) 

Great  Artist  Series Ed.  Pub.  Co. 

School  Sanitation  and  Decoration D.  C.  Heath  &  Co. 

Subjoined  is  a  list  of  pictures  and  casts  desirable  for  schools. 
This  list  is  merely  suggestive  and  not  intended  to  be  complete  or  ex- 
haustive. May  consideration  of  these  things  lead  to  providing  our 
school  children  with  the  "surroundings  that  rest  and  refresh  and 
make  alive."  CORA  C.  BRIGHT. 

LIST   OF   PICTURES. 


MADONNAS. 

Sistine  Madonna,  Raphael,  24x30 $15  00 

Sistine  Madonna,  Raphael,  27x34 1500 

Sistine  Madonna,  Raphael,  17x22 4  00 

Sistine  Madonna,  Raphael.  17x23 3  00 

Sistine  Madonna.  Raphael.  14x18 4  00 

Madonna  Gran  Duca,  Raphael.  16x22. .  3  00 

Madonna  Delia  Sedia,  Raphael,  16x22.  3  00 
Madonna  of  the  Arbor,  Dagnan  Bouve 

ret,  13x18 4  00 

Madonna  and  Child.  Murillo.  16x22. ...  3  00 

Madonna  and  Child,  Murillo,  12x17....  1  25 

Madonna  and  Child.  Murillo,  10x16. ...  75 


SUBJECTS  FROM  SCULPTURE. 

Apollo  Belvidere.  16x22 $  3  00 

David  ( head ),  Angelo,  22x27 6  00 

David  (head),  Angelo,  16x22 3  00 

David  (head),  Angelo,  10x16 75 

Hermes  of  Praxiteles,  19x23 6  00 

Hermes  with  infant  Bacchus,  19x24 5  00 

Venusof  Milo,  16x23 5  00 

Venus  of  Milo,  19x34 0  00 

Winged  Victory  of  Samothrace,  17x23. .    4  00 
Winged  Victory  of  Samothrace,  22x34..  10  00 

Death  and  the  Sculptor,  10x11 2  00 

Death  and  the  Sculptor,  10x12 3  00 

Moses,  Angrelo,  19x28 10  00 

Moses.  Angrelo.  16x22 3  00 

Shaw  Memorial,  St.  Gaudens,  16^x20...    7  50 
Lion  of  Lucerne,  Thorwaldsen,  16x22. . .    3  00 

Homer,  Bates,  10x22 4  00 

Homer,  Bates. 18x22 3  00 

Lincoln,  St.  Gaudens,  30x40 ,  12  00 

Lincoln,  St.  Gaudens,  12*2x16 4  00 

Three  Fates  (Ped.  Parthenon),  17x25...    5  00 

Singing  Boys,  Delia  Robbia,  16x22 3  00 

Dancing  Boys.  Delia  Robbia,  16x22 3  00 

Trumpeters,  Dell  Robbia.  16x22 3  00 

Bambini  (4) .  Delia  Robbia,  8x10,  each . .        30 

Ryerson  Indian  Monument,  30x40 10  00 

Minute  Man,  Daniel  French,  30x40 12  00 


ARCHITECTURAL  SUBJECTS. 

Acropolis,  Athens,  20x33 $10  00 

Arch  of  Constantine,  23x31 10  00 

Arch  of  Constantine,  20x26 1  00 

Arch  of  Constantine,  17x24 5  00 

Cathedrals— Amiens,  Milan,    Colonge, 

Notre  Dame,  14x18,  each 4  00 

Cathedral,  Notre  Dame,  16x22 3  00 

Canterbury  Cathedral,  18x26 5  00 

Durham  Cathedral,  18x26 5  00 


Coliseum,  Rome,  22x60 18  00 

Coliseum,  Rome,  21x35 10  00 

Coliseum,  Rome,  21x32 8  00 

Erectheum,  Athens,  14x18 4  00 

Parthenon.  Athens,  20x33 10  00 

Parthenon.  Athens,  16x22 3  00 

Pantheon,  Rome,  20x32 1000 

Pantheon,  Rome,  20x26 1  00 

Roman  Forum,  22x60 18  00 

Roman  Forum,  21x32 8  00 

Roman  Forum,  20x23 7  50 

Square  of  St.  Marks,  16x21 400 

St.  Marks,  10x13 2  50 

St.  Marks.  9x13 40 

St.  Marks,  20x26 1  00 


PICTURES  OF  HISTORICAL  INTEREST. 

Ann  Hathaway's  Cottage,  16x23 $  5  00 

Capitol  at  Washington,  20x34 10  00 

Castle  of  St.  Angelo,  20x33 7  50 

Castle  of  Chillon,  17x22 3  00 

Concord  Bridge,  20x33 10  60 

Concord  Bridge,  17x23 5  00 

English  House  of  Parliament,  17x23. . . .    5  00 

Grand  Canal,  Venice.  16x21 3  00 

Stratford-on-Avon,  17x25 5  00 

Stratford-on-Avon,  16x21 3  00 

View  on  the  Tiber.  16x22 3  00 

View  on  the  Tiber,  20x32 6  00 

Venetian    Views    (40  subjects,    photo- 
gravures) 9x13 each'       40 


PICTURES  OF  ANIMALS. 

An  Old  Monarch,  Rosa  Bonheur,  15x18.$  6  00 

A  June  Morning,  Loveridge,  10x15 1  00 

Ancient  Britons,  Douglas,  14x18 6  00 

Defiance.  Landseer,  22x24 4  50 

(Any  subjects  of  Landseer's  are  good 
except  painful  ones.) 

Early  Springtime,  Riecke,  12x17 1  25 

Highland  Pets,  19x13 5  00 

His  Majesty,  Dicksee.  16x26 6  00 

Homeward  Bound.  Derrick,  17x24 5  00 

Horse  Fair,  Rosa  Bonheur.  23x33 12  00 

Hound,  Rosa  Bonheur.  16x22 3  00 

I  Hear  a  Voice,  Maud  Earle,  23x29 6  00 

In  the  Lane,  Craig,  13x19 5  00 

In  Clover.  Derrick,  13x19 5  00 

Meadow  Pool.  Von  Marcke.  12*vzl5*<2 . . .  4  50 

Meadow  Pool.-  Riecke.  12x17 1  25 

Meadow  Brook.  Proctor,  13x19 5  00 

Midday  Rest,  Watson,  20x25 6  00 

Morning  Freedom.  20x24 5  00 

Norman  Vikings,  Douglas,  14x18 6  00 


—2  P.  I.   C. 


List  of  Pictures — Continued. 


On  Guard,  Rosa  Bonheur.  26x34 $12  00 

Patient,  Rosa  Bonheur.  15x18 6  00 

Pharaoh's  Horses,  Herring:,  24x24 6  00 

Pharaoh's  Horses,  Herring,  22x22 4  50 

Pharaoh's  Horse?,  Herring.  19x19 1  25 

Ploughing,  Rosa  Bonheur,  16x30 15  00 

Ploughing,  Rosa  Bonheur,  18x22 t  3  00 

Ready,  Rosa  Bonheur.  15x18 6  00 

Runaway  Horses.  De  Dreux,  18x23 1  50 

Raiders,  Dicksee,  16x26 6  00 

Return  Home,  Anton  Mauve,  16x22 4  50 

Return  of  the  Flock,  Troyon,  22x30 15  00 

Return  of  the  Flock,  Troyon,  10x16 75 

Saved.  Sperling,  18x28 5  00 

Scottish  Chiefs.  Rosa  Bonheur,  23x33..  12  00 

Scotch  Cattle.  Watson,  18x30 2  25 

Shepherd's  Lane,  Anton  Mauve.  16x22.  4  50 

Shepherd  and  Flock.  Jacque.  10x16 75 

The  Lodt  Sheep.  Jacque,  8x19 1  50 

The  Lost  Sheep,  Jacque.  8x19 5  00 

The  Escaped  Cow.  Dupre",  10x16 75 

The  White  Cow,  Dupre",  10x16 75 

The  Straw  Yard.  Herring,  19x25 2  50 

Twilight,  Craig,  13x19 4  00 

The  Coming  Storm,  Von  Marcke,  16x20  5  00 

Wolf  Dog,  Potter,  18x22 3  00 

Watering  the  Horses.  Danan-Bouveret, 

8x10 30 

Waiting,  Sperling,  8^x21 400 


FIGURE    PICTURES. 

(Pictures  in  which  the  interest  cen- 
ters in  human  figures,  even  though 
there  be  also  beautiful  landscape.) 

Angelus.  Millet,  18x22 $  2  00 

Aurora,  Burne- Jones.  8*2x20 6  00 

Aurora,  Guido  Reni,  15x36 12  00 

Aurora.  Guido  Reni,  14x18 4  00 

Aurora,  Guido  Reni,  20x32 6  00 

Angel  Choir.  Reynolds,  14x18 4  00 

Angel  with  Violin,  Da  Forli,  14x18 4  00 

Angel  with  Mandolin.  Da  Forli.  14x18..  4  00 

A  Gleaner.  Jules  Breton.  10x16 75 

A  Summer's  Day.  Jules  Breton,  16x20..  6  00 

Boy  Christ  (head),  Hoffman,  12x17 1  25 

Boy  Christ  (head),  Hoffman,  14x18 4  00 

Baby  Stuart,  Van  Dyck,  16x22 3  00 

Baby  Stuart,  Van  Dyck,  15x20 2  50 

Baby  Stuart.  Van  Dyck,  12x17 1  25 

Countess  Patocka,  unknown,  14x18 4  00 

Calling  the  Ferryman,  Knight.  18x22...  3  00 
Christ  and  the  Rich  Ruler,  Hoffman, 

12x17 1  25 

Christ  and  the  Rich  Ruler.  Hoffman, 

14x18 4  00 

Children  of  the  Shell,  Murilo,  22x26. ...  12  00 

Children  of  the  Shell,  Murilo,  18x22....  3  00 

Children  of  Charles  I.,  Van  Dyck,  16x22  3  00 

Children  of  Charles  I.,  Van  Dyck,  12x17  1  25 
Charles  I.  and  Dog  (detail),  Van  Dyck, 

12x17 1  25 

Flamma  Vestalis,  Burne-Jones,  13x36..  15  00 

Flamma  Vestalis,  Burne-Jones,  8^x20.  6  00 

Flamma  Vestalis.  Burne-Jones.  7x20. ..  4  00 

Feeding  the  Chickens,  Millet,  14x18....  4  00 

Feeding  the  Chickens,  Millet,  11x13. . . .  4  00 

Golden  Stair,  Burne-Jones,  16x36 15  00 

Golden  Stair,  Burne-Jones,  7x20 4  00 

Gleaners,  Millet  20x26 100 

Gleaners,  Millet,  16x22 3  00 

Good  Sheppard,  Murrillo,  18x22 3  00 

Hope,  Burne-Jones.  13x36 15  00 

Hope,  Burne-Jones,  7x20 4  00 

Hosea  (figure) ,  Sargent,  8x21 3  50 

Hosea,  (figure),  Sargent.  6x17 2  00 

Hosea  (head),  Sargent,  10x12 2  00 

Hosea  (head).  Sargent.  e^xS1^ 100 

Holy  Night,  Knauss,  12x17 1  25 


Holy  Night,  Correggio,  14x18 4  00 

Head  of  Child.  Greuze,  12x17 I  25 

Head  of  Child,  Greuze,  11x13 3  00 

In  the  Country,  Le  Rolle.  20x30 15  00 

In  the  Country,  Le  Rolle,  14x18 4  00 

In  the  Country,  Le  Rolle,  10x16 75 

Lazarus  (head),  Vedder,  10x13 400 

Mother  and  Child,  Toulmouche,  18x23..  1  50 

Madame  Le  Brun.  17x21 1  50 

Madame  Le  Brun  and  Daughter.  16x22.  3  00 

Queen  Louise.  Richter,  14*2x20 2  50 

Return  from  the  Field.  Breton,  22x30  ...  15  00 

Reapers,  Breton,  18x31 15  00 

Sir  Galahad.  Watts,  19x36  ...                   ..  1800 

Sir  Galahad.  Watts,  9x20 6  00 

Sir  Galahad,  Watts,  18x26 5  00 

St.  Michael  and  the  Dragon,  Raphael, 

16x22 3  00 

St.  John  (head).  Del  Sarto,  16x22 3  00 

Santa  Barbara  (figure),  Vecchio,  16x22.  3  00 

Santa  Barbara  (figure).  Vecchio.  14x35.  15  00 

Santa  Barbara  (detail),  Vecchio,  16x22.  3  00 

Santa  Baibara  (detail),  Vecchio,  14x18.  4  00 

St.  George,  Donatello,  16x22 3  UO 

Song  of  the  Lark,  Breton,  24x30 15  00 

Song  of  the  Lark,  Breton,  30x38 10  00 

Song  of  the  Lark,  Breton,  18x25 3  00 

Song  of  the  Lark.  Breton,  13x17 1  00 

St.  Anthony  (detail),  oval.  15x18 4  00 

The  Broken  Pitcher.  Greuze,  16x22...  .  3  80 

The  Prophets,  Sargent.  17x93 20  00 

The  Prophets.  Sargent.  10x55 9  00 

The  Prophets,  Sargent,  8x44 4  00 

The  Shepherdess,  Millet.  20x26 100 


LANDSCAPES  AND  SEA  VIEWS. 

Dance  of  the  Nymphs,  Corot,  22x30 $15  00 

Dance  of  the  Nymphs,  Corot,  18x26 5  00 

Danceof  the  Nymphs,  Corot, 44x18 4  00 

Georgia  Pines.  Inness,  8x13 2  00 

Georgia  Pines,  Inness,  14x20 600 

Le  Matin.  Corot.  22x30 15  00 

Le  Matin,  Corot,  14x18 4  00 

Le  Matin.  Corot.  10x16 75 

Landscape,  Ruysdael,  27x34 15  00 

Landscape,  Ruysdael,  22x30 15  00 

Landscape.  Ruysdael,  14x18 4  00 

Landscape  and  Cattle,  Troyon,  22x30...  15  00 

Landscape.  Rousseau.  10x12 3  00 

Morning— Coast  of  Maine.Neil  Mitchell, 

12x20 5  00 

On  theCoastof  Scheveningen.Mesdag, 

16x22 3  00 

Orpheus.  Corot.  10x16 75 

Salty  Marshes,  Fisher,  12x20 5  00 

Sunshine  and  Clouds,  Inness,  8x13 2  00 

Spring,  Daubigny.  10x16 75 

Stormy  Day  (Buzzard's  Bay),  11x20 5  00 

Sea  Off  Marblehead,  12x20 5  00 

Sunset  at  Sea,  Mesdag,  16x22 3  00 

The  Avenue.  Hobbema.  32x58 15  00 

Ville  D'Avray,  Corot,  17x24 500 

Windmill,  Ruysdael,  16x20 400 


COLORED -PICTURES. 

Aurora,  Guido  Reni,  19x40 $18  00 

Aurora,  Guido  Reni,  16x36 6  00 

Appollo  and  the  Muses.  Guido  Reni, 
19x40 18  00 

COLORED    PHOTOGRAPHS. 

St.  Mark's  Cathedral,  Venice,  16x22....  $2  50 

Grand  Canal  Venice,  16x22 2  50 

Grand  Canal,  Venice,  12x18 1  00 

Bridge  of  Sighs,  Venice,  16x22 2  50 


List  of  Pictures — Continued. 


FACSIMILES"  IN  COLOR. 

Bridge  of  Sighs,  12x18...  ..  $1  00 

On  the  Canal,  Holland.  11x16. ...  50 

The  Windmill.  Holland,  11x16 50 

Apple  Trees  in  Bloom,  Bruce  Crane, 

11x16 50 

Mother  and  Child.  Toulmouche,  18x24. .  1  50 
The  Columbus  Caravels,  J.  G.  Tyler, 

17x25 ; 3  00 

The  Viking  Ship.  J.  G.  Tyler,  17x25....  3  00 
Front  View  of  Parthenon  (reproduced 

from  model  in  Metropolitan  Museum) 

20x28 2  00 

St.  Mark's  and  Doge's  Palace,  12x18....  1  00 

FITZ  ROY  PICTURES. 

(Large  colored  prints  in  simple  col- 
ors suitable  for  primary  rooms  and 
kindergartens.) 

The   Plough  (Two  horses   ploughing). 

Hey  wood  Summer $2  00 

"In  the  Morning  Sow  Thy  Seed,"  Louis 

Davis $2  50 

Love  Rules  His  Kingdom 200 

St.  George  and  the  Dragon,  Heywood 

Smnner  300 

Spring,  Heywood  Sumner 175 

Summer,  Heywood  Sumner 175 

Autumn.  Heywood  Sumner 175 

Winter,  Heywood  Sumner 1  75 


SERIES  OF  TEN  COLOR  PRINTS. 

(Illustrating  "Mother  Goose"  stories. 
Suitable  for  lower  grades.  Size 
IS^xlS1^  inches.)  By  Mrs.  Perkins. 


The  King  in  the  Countinghouse. 

The  Queen  in  the  Parlor 

The  Maid  in  the  Garden 

My  Mary.  She  Minds  Her  Baby. . 

Dance  to  Your  Daddy 

Gray  Day 

Blow.  Wind,  Blow 

The  Knave  of  Hearts 

The  King  of  Hearts 

There  Was  a  Girl  in  Our  Town... 


INDIANS. 

Burbank,  E.  A.— Series  of  ten  portraits 
of  famous  chiefs.  Color  prints. 
Mounted  on  gray  mat;  10x13,  each  — 

Ostertag,  B.Reading  the  Declaration  of 
Independence.  Color  print,  26x32  — 


25 
3  00 


COLORED  PICTURES. 

Night  on  the  Sea,  Henri  Riviere,  22x33.$  5  00 
Daybreak  at  Sea,  Henri  Riviere,  22x33. .    5  00 

The  River,  Henri  Riviere,  22x33 5  00 

(Plat  decorative  treatment,  suitable 
for  kindergarten  or  first  grade.) 


The  Piper.  19x25 $2  00 

Roses  of  Christmas,  19x25 2  00 

Star  Emblems.  Mucha,  19x25 3  50 

In  Dreamland.  Mucha.  19x25 3  50 

The  Flowers  (4),  Mucha,  17x40 5  CO 

The  Seasons  (4)  (cloth),  Mucha,  17x40...       50 


CASTS. 

Samothrace  Victory,  height  48  inches.  $8  00 

Samothrace  Victory,  height  18  inches.  2  50 

Venus  de  Milo,  height  36  inches 3  50 

Venus  de  Milo.  height  18  inches 1  00 

Diana  the  Huntress,  height  42  inches.  15  00 

Fly  ing  Mercury,  height  30  inches 1  70 

Young  Augustus,  height  22  inches. ...  2  55 


BUSTS. 

Laughing   Boy,    Donatello,   height   16 

inches $1  00 

St.  John,  Donatello.  height  16  inches. . .    1  00 
Apollo  Belvidere,  height  15  inches 1  00 


RELIEFS. 

Singing  Boys,  Delia  Robbia,  15x20 '$2  50 

Singing  Boys,  Delia  Robbia,  7x11 50 

Trumpeters,  Delia  Robbia.  10x11 75 

St.  John,  10x20...  .    150 


ANIMALS   (CASTS.) 

Lion,  standing,  Barye,  6x10 $1  00 

Lion,  crouching,  Barye,  6x10 1  00 

Tiger,  crouching,  Barye,  6x10 1  00 

Wolf.  Barye,  6X10 1  00 

Horse,  6x15*2 2  00 

'    October,  1900. 


10 


SOME  TYPICAL  ILLINOIS  SCHOOL  HOUSES. 


Compare  plates  I,  II,  III,  IV  and  V  with  VI,  VII,  VIII,  IX  and 
X.  The  buildings  in  the  two  groups  do  not  differ  much  in  cost. 
The  surroundings  of  the  first  group  are  a  reproach  to  any  district, 
however  small.  A  live  teacher  can  improve  them  by  planting  even 
one  tree.  The  county  superintendent  should  aid  him  by  a  timely 
appeal  to  the  pride  and  public  spirit  of  the  directors  and  people. 
Such  surroundings  as  are  shown  by  the  second  group  are  possible 
anywhere  in  Illinois.  They  tend  to  increased  respect  for  the  school 
as  well  as  increased  self-respect  on  the  part  of  pupils  and  teachers. 
There  are  two  thousand  of  the  first  kind  in  Illinois.  They  must  go! 


11 


SOME  OF  THE  BEST  COUNTRY    SCHOOL    HOUSES    IN 

ILLINOIS, 


Plate  XI. 

Plate  XII. 
Plate  XIII. 

Plate  XIV: 

Plate  XV. 
Plate  XVI. 
Plate  XVII. 

Plate  XVIII. 
Plate  XIX. 

Plate  XX. 


Lane's  school  house,  near  Paris,  Edgar  county.  Built 
1899.  Cost,  $1,200.  Directors:  Wm.  Dickenson, 
John  Moffitt  and  C.  A.  Austin.  County  Superin- 
tendent, George  H.  Gordon,  Paris.  Architect,  N. 
Gaunt.  A  model. 

District  2,  township  45-5,  McHenry  county.  W.  E. 
Wire,  Hebron,  County  Superintendent. 

District  3,  township  45-5,  McHenry  county.  ,  Base- 
ment and  floor  plans  sketched  by  Superintendent 
Wire. 

"Cottage  Hill"  school,  Sangamoh  county.  S.  A. 
Bullard,  Springfield,  architect.  Charles  VanDorn, 
County  Superintendent. 

A  one-room  building  in  Cook  county.  Patton,  Fisher 
&  Miller,  architects,  Chicago. 

A  one-room  building  in  Cook  county, 
architect.     A  model. 


A  two- room  building  in  Cook  county, 
architect. 


G.  W.  Ashby, 
G.  W.  Ashby, 


A  two-room  building  in  Cook  county. 

The  Polo,  Ogle  county,  school  building.  Dedicated 
December  1899.  A  model. 

An  Ohio  idea.  The  Kingsville  school.  Pioneer  in 
that  state  in  consolidating  small  schools.  See  page 
51,  XXIII  biennial  report. 


12 


SOME  RURAL  SCHOOL  INTERIORS. 


Plate  XXI. 

Plate  XXII. 
Plate  XXIII. 
Plate  XXIV. 

Plate  XXV. 
Plate  XXVI. 


A  country  school  house  where  it  was  said  that  "trees 
will  not  grow."  Interior  of  the  same.  The  nearest 
farm  house. 


A  "heating  terror." 
also. 


Observe  the  stove  in  plate  XXI 


A  school  room  stove  made  comfortable  and  effective. 
The  only  substitute  for  a  basement  heater. 

A  cozy  interior  in  Cook  county,  which  so  pleased  a 
Chicago  gentleman  who  happened  to  look  in  out  of 
curiosity,  as  he  was  driving  by,  that  he  sent  to  the 
school  the  fine  picture  seen  above  the  blackboard. 

An  unattractive  exterior,  made  charming  within  by 
tinted  walls,  pictures  and  the  good  taste  of  an  artist 
teacher.  May  her  tribe  increase. 

"Going  home  from  school." 


CAUFORNIA  LIBRA** 


i 
FEB  2  8 1980 


jun   9 1931 


30m-6,'14 


YC 


57669 


'3A&4 


